Star Trek II: The Wrath of Khan
"At the end of the universe lies the beginning of vengeance." Khan Noonien Singh escapes from his exile on the desert world of Ceti Alpha V and seeks to avenge himself upon now-Admiral James T. Kirk who marooned him and his crew there so many years ago. The Wrath of Khan, the second Star Trek feature film installment, is traditionally regarded by fans as the best in the series, and considered by many non-fans as an excellent science-fiction picture. Summary IN THE 23RD CENTURY... "Captain's log, stardate 8130.3. Starship ''Enterprise on training mission to Gamma Hydra. Section 14, coordinates 22-87-4. Approaching Neutral Zone, all systems normal and functioning.'' A female Vulcan sits in the command chair on the bridge of the Enterprise. While the senior crew work at their consoles, the officer, Saavik, makes a log entry, then orders Lt. Commander Sulu to project a course to avoid entering Neutral Zone. Suddenly, Uhura receives a distress call from the Kobayashi Maru, which has struck a gravitic mine near Altair VI...inside the Neutral Zone. Despite warnings from both Sulu and Spock, Saavik orders the ship to enter the Zone in order to beam the survivors aboard. Upon entering the Zone, the Enterprise is confronted with three Klingon battlecruisers, which open fire. The Enterprise is heavily damaged; many of the bridge officers are killed. Saavik has no alternative but to order the surviving crew to abandon ship. Then the filtered voice of Admiral Kirk is heard. The bridge viewscreen slides aside, revealing a lighted room beyond. The ''Kobayashi Maru'' was a test-–one Saavik does not believe to have been a fair test of her abilities. Kirk explains that the no-win scenario is a situation every commander may face, and that how one faces death is equally important as how one faces life. Outside the simulator room, Spock awaits Kirk's opinion of the cadets' performance. Kirk notes that the trainees wreaked havoc with the simulator room and Spock alike. Spock recalls Kirk's own Kobayashi Maru, noting that the Admiral took the test three times and that his final solution was somewhat "unique". Kirk then thanks Spock for his birthday present, an antique copy of "A Tale of Two Cities". Kirk then retreats to his quarters, to be greeted my Leonard McCoy, who presents him with a bottle of finley-aged Romulan ale. Noticing Kirk is acting stanger than usual, he questions wether Kirk really wants to carry on the duties of an admiral, or to be "galaxy hopping" in a star ship. Kirk confesses it to him, and the two share a drink sitting by the fireplace. Meanwhile, Commander Chekov is on board the [[USS Reliant|USS Reliant]], which orbits Ceti Alpha VI in connection with Project Genesis, searching for a lifeless planet to satisfy the requirements of a test site for the Genesis experiment. Although Ceti Alpha VI should be incapable of supporting life, Chekov detects a minor energy flux reading on one dynoscanner. Chekov and Captain Terrell beam down to the surface to investigate. Upon arrival, they fight themselves through clouds of dust until they discover and enter what appears to be a crashed derelict vessel. They soon discover that the derelict is the ''Botany Bay'', a ship Chekov remembers all too well. Panicking, he rushes Terrel toward the exit...only to find that a group of people are waiting outside. Their captor reveals himself as Khan Noonien Singh. In order to find out why the two are there, Khan forces juvenile Ceti eels into their ears, rendering them subservient to his every command. Khan lures Kirk to research station Regula I, by having Checkov inform Dr. Carol Marcus, head of the Genesis project, that Kirk has ordered them to take possession of the Genesis Device. Dr. Marcus attempts to contact Kirk to confirm the order, but the signal is jammed. Kirk, after consulting with Starfleet Command, orders Enterprise to set a course for Regula I. , wounded by Khan's attack]] Enterprise finds the Reliant waiting for them. Despite being unable to contact Reliant, Kirk is reluctant to raise shields-–as Saavik reminds him, regulations prescribe. Reliant opens fire, disabling Enterprise's main power plant, and morally injuring several cadets. Khan then demaded all information on the Genisi devide, lest he destroys the Enterprise. Only by using Reliant's command codes to drop her shields. Due to Khan's relative inexperience with a starship, he is unable to override it, Kirk able to save Enterprise from further damage. With auxillary power back online, Kirk is able to fire ath the Reliant, blowing away pats of it. In the end, both ship limp. This match ended in stalemate. Arriving at Regula I, they find the station's crew killed, and discover Chekov and Terrell inside a storage compartment. Exploring the station leads them to a transporter that has recently been activated. Checking the coordinates, Kirk realizes they beamed into the Regula asteroid and follows. They materialize inside a chamber. The Genesis Device is there but before Kirk can move, he is attacked by his son, David Marcus, who accuses Kirk of trying to steal Genesis. Carol, David's mother, tries to defuse the situation, but before she can elaborate, the team is threatened by Chekov and Terrell. The Genesis Device is beamed away and Terell is ordered by Khan to kill Kirk. Terrell, however, turns his phaser on himself instead, to stop himself from killing Kirk for Khan, and then Chekov collapses. Khan, shocked to find Kirk alive and well, vows to leave him marooned on Regula for enternity. Carol and David show Kirk, McCoy and Saavik the "Genesis Cave", which was created by a smaller Genesis Device: deep within Regula now exists a stable ecosystem that was created in one day. The landing party is eventually rescued by Enterprise, which was able to restore enough power to beam them aboard. Unfortunately, the ship cannot outrun the far less damaged Reliant. Kirk decides to take refuge in the nearby Mutara Nebula, whose ionized gases disrupt the sensors and shields of both vessels. Khan orders Reliant to pursue, but his crew is reluctant, as they know the sheilding and sensor systems will be rendered useless. Then, the Battle of the Mutara Nebula ensues. A game of cat-and-mouse follows with each vessel sniping at each other but missing more often than not. Kirk is nevertheless able to beat Khan because of his superior starship combat experience with several phaser blasts, and a torpedo to Reliant's port nacelle. Reliant is crippled and crawls away, trailing plasma. Most of Khan's crew is killed in the process. In a final attempt to kill Kirk, Khan activates the Genesis Device. The Enterprise cannot escape. Unnoticed, Spock exits the bridge, while Kirk orders a withdrawal at "best possible speed". On Reliant's bridge, Khan observes: "No, Kirk, you can't get away. From hell's heart...I stab at thee. From hate's sake I spit my last breath...at thee." Without main warp power, Spock arrives in Engineering, only to be stopped from entering the lethally irradiated compartment by Dr. McCoy. Spock incapacitates McCoy, and mind melds with the doctor, saying "Remember..." He then dons work gloves, enters the chamber, and repairs the main reactor. Enterprise streaks away just as the Genesis Device explodes, creating the Genesis Planet. Kirk contacts Engineering to congratulate Scotty, but McCoy replies, which is when Kirk notices the empty chair at the science station. Kirk rushes down to Engineering to find Spock, disfigured and dying. Kirk calls out for Spock and follows the dying Vulcan around the side of the transparent radiation barrier, finally resting against it. Spock attempts to explain to Kirk his reasoning: "Don't grieve, Admiral...it is logical...the needs...of the many...outweigh...", to which Kirk replies, "the needs of the few", and Spock nods. "or the one..." Kirk, stricken with grief, can't reply. "I have been...and always shall be...your friend. Live long...and prosper." He holds out his hand, in the tradional Vulcan salute, and Kirk presses his hand up to the glass as well, watching as Spock slumps to the floor, and expires. It takes all of his resolve to keep his composure as he sees his closest friend die in front of him. This time, there is no going back. Spock's funeral is held later, on the torpedo deck. Kirk says a few words in Spock's honor, concluding with a befitting statment: "Of all the souls I've encountered in my travels, his was the most...human." Spock's body is launched in a torpedo casing into the atmosphere of the newborn Genesis Planet. Later, on the bridge, Dr. McCoy, Carol Marcus and Kirk stare at the Genesis Planet on the main viewscreen as the Enterprise departs for Ceti Alpha V to pick up the surviving crew of the Reliant. Kirk softly quotes the last lines of "A Tale of Two Cities"; something Spock was trying to tell him on his birthday. Upon McCoy's inquiry as to how Kirk feels, he answers: "Young, I feel young." Analysis The screenplay for Star Trek II was written by director Nicholas Meyer, compiled from a number of drafts which all contained one or several dominants themes. One element was clearly going to be central to the audience's emotional response. Meyer explained: "One you decide that you're going to have the death of Spock, then how does that affect the other people? Why is it there? I got a lot of stick from a lot of people from the very beginning about the idea of killing Spock. Somebody said, 'You can't kill him.' And I said, 'Sure you can; the only question is whether you do it well.' If his death proceeds organically from the theme and the story of the movie, then nobody's even going to notice it until it's on you, and no one will question it." In other words, Meyer was determined that his film would be about something, and would do more than tell an adventure story. "We were giving birth to planets, and Kirk was meeting his son, and Spock was dying. You sort of looked at that and said, 'Well, what unifying ideas are running through here?' And then you thought, 'Ah! This is going to be a movie about...'" Age "This was going to be a story in which Spock died, so it was going to be a story about death, and it was only a short hop, skip, and a jump to realize that it was going to be about old age and friendship. I don't think that any of those other scripts were about old age, friendship, and death." :"Get your command back, Jim... before you become a part of this collection. Before you really do grow old." :: - "Bones" McCoy The decision that the film was going to be about old age and friendship prompted Meyer to include a scene in which McCoy visits Kirk in his apartment and tells him that he should get his command back. With every alteration, the themes were woven tighter and tigher into the script. Ultimately, the film presented an aged Kirk in mid-life crisis. Uncertain of his place, of himself, Kirk must make the greatest sacrifice to find out where he truly belongs. Kobayashi Maru :"I don't believe in the no-win scenario." :: - Kirk, to Saavik In one of the early drafts for the film, the Kobayashi Maru test was suggested as a no-win scenario – one Nicholas Meyer decided Kirk had solved by cheating. Initially, producer Harve Bennett was resistant to the idea that Kirk could do anything 'bad', yet Meyer won him over; in fact, he believed the story needed Kirk to have flaws. "There's a distinction to be made between heroes and gods," he explained, "which I think we sometimes get confused about. ... let me explain my theory of heroism. If a man jumps into a raging torrent to save a drowning child, he performs an heroic act. If the same man jumps into the same torrent to save the same child, but does so with a ball and chain attached to his leg, he's not less heroic; he's more heroic. "If you look at the heroes of antiquity and myth, they all have flaws. It's something that they have to overcome; their flaws are something that they have to act in spite of. The challenge is not to defy your fate, but to endure it. That is heroic." James T. Kirk is very much like a classical hero who must confront his own weaknesses. He played God when he marooned Khan to a desert world; he chose not to be involved in his son David's life; he allowed Enterprise to be damaged because he would not listen when Saavik told him to raise shields. When Spock dies, Kirk must endure, and Nicholas Meyer was absolutely conscious of this when he was writing the script. "The flaw is always the same," he explained. "The hero always thinks he knows the answer, and ultimately he learns that he doesn't. ... There is always a point in Greek plays, known as 'peripatea', where the hero learns that everything he knew is wrong. And it's no accident that in at least two of my movies there comes a point where the hero says, 'I know nothing.' H.G. Wells says it in Time After Time; Kirk says it in Star Trek II. It's when you begin to realize that you know nothing that you're ready to learn something. When you've had the shit kicked out of you, you're ready to start over, and with a little humility. As I was writing it, I was certainly getting to that 'I know nothing' point." :"I've cheated death, tricked my way out of death, and patted myself on the back for my ingenuity. I know nothing." :: - Kirk Vengeance :"Ah, Kirk, my old friend, do you know the Klingon proverb that tells us revenge is a dish that is best served cold? It is very cold in space." :: - Khan Using the original series episode "Space Seed" as a building block, Meyer built Khan into the ultimate adversary for Kirk. As he worked on his character, he imagined how raged a man would be after being exiled on a desert world and losing his wife. Inevitably, Khan became obsessed with Kirk, who he saw as his nemesis. "Kirk was the fiend who had imprisoned him; who had stopped him up in the bottle. I think when Khan makes his appearance in the story, Kirk is flabbergasted. He did not lie awake thinking about Khan; Khan lay awake thinking about Kirk." :"Khan!" :"You still remember, Admiral... I cannot help but be touched. ''I, of course, remember you." :: - '''Kirk' and Khan Meyer decided that while Khan had been waiting for a chance to avenge himself upon Kirk, he would have been reading. "I started thinking, 'What books does a superman take with him into exile?' At one point, Khan says, 'On Earth I was a prince,' and certainly he's a fallen angel, so I picked all the books that were Lucifer-related-–fallen angel-–whether it was 'Moby Dick' or 'Paradise Lost' or 'King Lear', and began to build from there. I thought, 'He's probably been obsessively reading these books again and again until every word out of his mouth has been written by Shakespeare or Milton.' Actually, Melville was the one who finally took over; he just becomes completely Ahab." :"No, Kirk, you can't get away. 'From Hell's heart... I stab at thee. For hate's sake I spit my last breath... at thee'." :: - Khan, quoting Moby Dick Death Inevitably, there was concern that the script might seem too downbeat, particularly because in Meyer's version there was nothing to suggest that Spock might be reborn on the Genesis Planet. He later recognized that that might have been a mistake, yet he never felt that Spock's death was depressing. "My feeling about killing Spock was that it would be moving, but that didn't mean you would be depressed by it. Romeo and Juliet die, but nobody comes out of that play depressed. We didn't want Spock's death to be meaningless. And I don't think that it is. Aristotle had the notion of catharsis – that the audience is purged through pity and terror. You don't come out of these things saying, 'I'm going to stick my head in the oven.' Kirk chooses to go on living; sadder but wiser, understanding a little more the way the world works, and that is not, per se, depressing. It may be sad, but it's not depressing." Background Information Script Despite its weaknesses, Star Trek: The Motion Picture had been a success, so it came as no surprise that Paramount Pictures decided to develop a sequel. With Gene Roddenberry stepping into the background, Star Trek was handed over to executive producer Harve Bennett. It was Bennett's job to develop a script that could be filmed on a reasonable budget and put a new Star Trek feature in the theatres in the summer of 1982. One of his biggest problems was finding the right approach to the material. The Motion Picture had adopted a very serious and epic style, which many felt was inappropriate. Somehow, the sequel would have to capture the essential heart of the show and give the audiences what they had been waiting for. Bennett watched all original Star Trek episodes in preparation for his task. His trawl through the episodes provided him with what he had been looking for. He was determined that his movie would have something the first one lacked-–a real villain. When he saw "Space Seed", Bennett was struck by Ricardo Montalban's performance as Khan, and decided that he would make the perfect villain for the film. In November 1980, Bennett wrote his first treatment called "Star Trek II: The War of the Generations". In this story Kirk is called to investigate a rebellion on a Federation world. En route, he saves a woman he was once in love with and learns that their son-–whom he never knew had been born-–is one of the leaders of the rebellion. Upon arrival at the planet, Kirk is captured and sentenced to death by his own son, before we learn that Khan is truly the mastermind behind the uprising. Kirk joins forces with his son to fight Khan, and the film ends with Kirk's son joining the crew of the Enterprise. Bennett had already decided that one of the film's major themes would be the aging of the characters. In the drafts that followed, Kirk was consistently confronted with a son he knew little about, Spock was often preoccupied with death, and, in the later versions, McCoy had to struggle with his feelings for a much younger woman, who had made it clear that she was interested in him. Bennett still had to turn his outline into a workable script that could be shot, so he hired Jack B. Sowards, who had written several admired movies of the week and was a self-confessed Star Trek fan. Sowards instantly had a major impact. Where Bennett's original treatment made no mention of Spock, since Leonard Nimoy had made it clear that he was not keen to make a second Star Trek film, Sowards thought he had a way of persuading Nimoy to return: he suggested that Bennett tell Nimoy that in this film Spock would die a little more than a third into the story. The opportunity to play his death scene was too good for Nimoy to pass up, and he agreed to come aboard. From this piont on, all the scripts featured Spock's death, although its position in the film would inevitably be pushed toward the dramatic conclusion. Sowards had only a few months to write a full script before a writers' strike was called in April 1981. By late February he had produced a first draft that significantly expanded Bennett's outline and added several vital elements. This script introduced the idea that the Federation was preparing to test a terrible weapon known as the Omega System. The film opened with Captain Clark Terrell and his first officer, Pavel Chekov, beaming down to Ceti Alpha V, which had been selected as a test site, to make certain that the planet was as dead as sensor readings suggested. Starfleet knew that Kirk had left Khan and his people stranded on this planet, but was amazed to discover that he and a handful of his followers, including Marla McGivers, had survived. A vengeful Khan took control of Terrell and Chekov, and used them to take control of Project Omega. Terrell claimed that Kirk had ordered the Omega System to be loaded onto the U.S.S. Reliant, which was a Constitution-class starship like Enterprise, and made it clear that it was going to be used to fight the Klingons in the Neutral Zone. Project leader Janet Wallace contacts Kirk, who orders Enterprise to set a course for Gamma Regula IV, the planet on which the project was headquartered. As Enterprise approached the planet, its engines were badly damaged, and Spock sacrificed his life to get them back online in time for Kirk to fight the Reliant off. Later Khan and Kirk would fight a psychic battle in a variety of exotic locations, using quarterstaffs, whips, and swords. Khan, who had acquired impressive mental powers during his isolation, eventually won, but Kirk survived because the understood that he weapons were only illusory. The film ended with a pitched space battle in orbit around the planet, in which Kirk defeated his enemy with his superior tactics. At this point, art director Michael Minor made an invaluable contribution. Bennett was concerned that the Omega System was simply a weapon and that there was nothing uplifting about it, so Minor suggested turning it into a terraforming device. Because it would work by reordering matter on a planet's surface, it would still be a terrible weapon, but the Federation's goal was to create a paradise, not to kill billions. Bennett was delighted by this, and, in recognition of its Biblical power, the Omega System became the Genesis Device. By April 10, Sowards had produced an updated draft of the script that incorporated the change. In this version Janet Wallace had become Carol Baxter and Spock's death had been pushed a little later in the story. During the final battle, Khan fired the Genesis Device at Enterprise but hit a planet, which was reborn as the two vessels continued their titanic struggle. This draft also included the first version of the simulator sequence in which "Saavik" (then a young Vulcan male officer who was Captain Spock's first officer on board Enteprise) failed to rescue the Kobayashi Maru. When Saavik questioned him about his failure, Kirk suggested that the test might be a 'no-win scenario'. By now, pre-production had begun in earnest, and producer Robert Sallin and Mike Minor produced storyboards for the effects sequences. But, although this draft contained many, if not most of the elements of the final script, Bennett and Sallin were not satisfied. To their minds, the script did not have the epic sweep needed for a major film. So they called upon Samuel A. Peeples, who had written the original series episode "Where No Man Has Gone Before". His script entirely omitted the character of Khan and replaced him with two powerful aliens called Sojin and Moray, who had been exiled from another dimension and possessed almost godlike abilities. While Peeples was working on the script, Bennett and Salllin found a director they liked in the form of Nicholas Meyer. A week or so before the last draft was due to be delivered, they met with him and promised they would be back in touch as soon as they had the new script in their hands. Meanwhile, time pressures were becoming critical and Industrial Light and Magic told the producers that if they did not have a script within a matter of weeks, they would not be able to deliver the effects in time for the planned release date. By the time the final Peeples draft arrived, Bennett and Sallin knew they could not film it. As Sallin explained: "We were off in some weird directions and I was really very concerned. It did not feel like a motion picture to me. Some of these ideas were too derivative and were too small in their scope. There wasn't anything underlying it. It was more about people shooting fire and things like that, as opposed to a real story." Three weeks after their last meeting, Meyer called Bennett and asked where the script was. Although reluctant to share the script, which Bennett found almost embarrassing to share, Meyer pursuaded him to send him the draft. Not impressed with what he had received, he called Bennett and told him and Bob Sallin to come up to his house with all the different drafts of the script. The three of them made a list of all the things from all the different drafts that they wanted to end up in the final film, and then Meyer set out to compile a screenplay that incorporated all those things. Meyer concentrated on crafting a strong narrative by getting all the scenes in the right order and putting the story into his own words. "I was only interested in cobbling together and cannibalizing various parts that seemed useful," he explained. "What I fall in love with is the story. I never looked at the scripts again, so there were no words that were appropriated. It all had to be in my own language and in a way that I could understand it." Meyer had some very clear opinions about what made drama, and he was determined that, despite the futuristic setting, his film would make sense to a 20th century audience. Asked to quantify the character of his approach, Meyer produced two examples. The first was that he brought a sense of humour to the project, which is not to say that he did not treat it with proper respect. "I think that putting humour into a serious movie makes the serious stuff more serious, and the humour becomes more of an explosive release." The other important decision he made was actually something he thought about when Bennett and Sallin had first asked him to direct the film. "I had the haziest notion of what Star Trek was, because I didn't really watch the show on television. I finally latched on to the idea that Captain Kirk and friends were really an outer-space a series of novels that I had loved as a kid, by C.S. Forrester, called 'Captain Horatio Hornblower'. So I said, 'OK, this is 'Hornblower' in outer space; I've got it.' When I wrote the script in 12 days it was very, very, very Navy, or, as my late wife used to say, 'Nautical but nice.'" Casting Because Ricardo Montalban had appeared on the original series episode "Space Seed", director Nicholas Meyer was not involved with casting him, though he certainly had no complaints. "Khan is enough to tell you that this is a great actor," he said. Most of Kirk's crew were in place, but Meyer was intimately involved with casting several new roles. He explained that what he was looking for was actors where he could see what the characters were feeling, even when they were not talking. "For Carol Marcus I wanted a woman who was beautiful and looked like she could think; a woman who was attractive enough that you could see why Kirk would fall for her, and at the same time somebody who could keep up with him. ... I loved Bibi Besch; I became very close with her, and I used her again in 'The Day After'. She's no longer alive and I bitterly regret it; she was a lovely human being, and a lovely actor. "Merritt Butrick is also tragically no longer alive. David Marcus he not only had to be Kirk's son, he had to be Carol's son, so on a physical level I think what I liked was that his hair was the same color as hers but it was curly like Bill's, so I thought, 'Well, that's plausible.' "Paul Winfield was an actor I had wanted to work with since I saw 'Sounder', and I thought, 'Wow, what a lovely actor.' There was no real reason for him to be the captain of the Reliant, other than my great desire to direct him in scenes! I knew he could do it, without any question." The biggest casting coup was giving a young Kirstie Alley the role of Saavik. "She said as a child she wanted to be Spock and that she was so in love with the role that she wore her ears to sleep. ... She didn't have to find the role; she didn't have to work her way into it. She'd been living it somewhere in her head for years. There just wasn't a contest. I don't recall seeing another actor for that part who was as persuasive." In addition to her instinctive understanding of the role, Alley brought another, slightly more definable quality to her role. "The thing about her is that she's beautiful, but she also had a slightly other-wordly quality. ... She was also able to encompass that sort of flat unemotionality, but she's basically a comedian. What I didn't know was that that flatness, like Leonard's, frequently comes out of a kind of a deadpan. I realized that when I watched her doing it. Then, at the other end of it, there she was at Spock's funeral, weeping. I remember somebody came running up to me and said, 'Are you going to let her do that?' And I said, 'Yeah', and they said, 'But Vulcans don't cry,' and I said, 'Well, that's what makes this such an interesting Vulcan.'" Sets When production designer Joseph Jennings reported for work on the second Star Trek film, he found the sets for the U.S.S. Enterprise still standing. After director Robert Wise had finished filming the first feature, he had simply closed the stage doors and moved on. In the intervening months, the interiors of the giant starship had sat patiently, waiting to go back into action. Most of the action in the film takes place on the bridge of the Enterprise. Although the set may appear quite different from the bridge on The Motion Picture, Jennings only made cosmetic changes to the design. The layout remained the same, but in order to make the second film warmer than its predecessor the set was repainted in darker colours. Director Nicholas Meyer very much disliked the design of the Enterprise bridge set, because in his view there were many things that did not make sense: "... to take a silly example, if they are in terrible circumstances and everything gets all shook up, why don't they have seatbelts? And the answer is, because if they had seatbelts if wouldn't be very interesting. Most of the movie actually takes place on that damn bridge, which is a very tedious set to photograph, and it was also, in a reconfigured form, the bridge of the Reliant, so I spent a lot of time there. "The biggest problem was just keeping alive what is happening in a 360-degree world. The bridge was, very rightly, built in pie sections, so you could yank out sections and put the camera in. But, occasionally, you might want to be in the middle and sweep the camera around at what is going on. The sections are curved at the top, so when they are all in, how do you get light in there? It's a sort of a nightmare scenario. Gayne Rescher, director of photography] invented a lot of very peculiar apparatus that dropped in from the top with light coming off, like a big chandelier on a chain." The Wrath of Khan did not have the budget to allow for significant alterations to be made to the bridge set, but Meyer did ask Jennings to find ways of making it appear more detailed and specific. "The least I thought we could do was revamp the bridge and make it twinkle. I remember I had Joe Jennings build me a wall of blinking lights. It was on wheels, and we would shove this thing around behind people, to try anything to break up this expanse of grey panel." Although several other sets were also still in place, the Enterprise still gave Jennings plenty of work to do. As he recalled: "A new script will call for different things; somebody walks down a corridor and goes into another room and, bang, you don't have that room, so you add it. And it grows ... until the stage sort of bulges out." The most obvious new addition was the torpedo room. Few people would realize it, but this set was actually a redressed version of the Klingon bridge from the first film. The torpedo room set featured a long channel where the torpedoes were loaded. Meyer wanted to have as much movement as possible in the action sequences, so he had Jennings put grates down over the channel that had to be lifted when the Enterprise went into battle. The Enterprise bridge set was also adapted to serve as the bridge of the U.S.S. Reliant. "We had one thing going for us," said Jennings. "There's a great deal of similarity between the bridge of a destroyer and the bridge of a cruiser in the American Navy. We gave it a change of colour and orientation, and we got rid of the big screen in front. As I recall, we changed some of the seating arrangements and the elevators a little bit, and, of course, we added the ceiling piece to it, because the beam had to come down and pin Ricardo to the floor. The whole ceiling piece was something that had never been featured in the bridge of the Enterprise. That gave it a different look." One of the non-starship sets Jennings worked on was the brief scene at Starfleet Headquarters, when Kirk walked out of the simulator and headed for an elevator. This set was in reality much smaller than it appeared. Jennings explained: "Mike Minor had a bright idea; he went out to several hardware stores and came back with a birdbath, a planter, and a bunch of junk. He went off and fiddled with it for about two days, and he came up with a miniature. We put that in the foreground as what is called a 'cutting piece,' and the real set was in the background. They tied together visually and created a perspective trick that made the set look much bigger." in San Francisco was filled with collectables that demonstrated his interest in the past, including many nautical objects that Nicholas Meyer asked for.]] The next time we saw Kirk, he was in his apartment. Jennings had fond memories of this set, and said that the challenge was to make it clear that it was in San Francisco, but also show that it was a 23rd-century building. The setting was established by using a backdrop showing the Golden Gate Bridge that had been made for 'The Towering Inferno'. The next task, Jennings explained,' was to make the room appear futuristic. "You set up your frame of reference, and then within that you've got to be honest, which will lend credibility to the physical aspects of your show. Like all architecture, it has to look as through it's possible to live in it; you look for materials, for instance, that are unfamiliar, or that are being used in an unfamiliar fashion, to make your design look different from what the public is seeing today." Despite the need to make the apartment look futuristic, Meyer also impressed on them that he did not believe that things would change that much in the future, so the apartment still had to look like a home. "A fireplace would be an anachronism but would still fit Kirk's image of having a cozy place to live," said Jennings, "so we had to make a fireplace that looked a little different; hence we used the curved wall and the mosaic treatment behind it." Meyer also wanted to suggest that Kirk had too much time on his hands in retirement and had a real attachment to the past, so Jennings and his team filled the set with antique collectables. Costumes When Robert Sallin came on board as producer for Star Trek II, one of the first things he did was change the wardrobe of the Starfleet officers. Sallin wanted the uniforms redesigned, yet did not want to discard the old The Motion Picture jumpsuits entirely for budgetary reasons. "... so I said, 'Let's do some dye tests.' To this day I have the swatches of the different-coloured uniforms that we tested to see if we could reuse some of the old material and rework it." The series of dye tests showed that the old uniforms would take three different colours well: a blue-gray, a gold, and a dark red. The plan was to use the modified uniforms for the junior cadets and enlisted crew, while enough money could be found to design an entirely new wardrobe for the senior officers. Director Nicholas Meyer had some very specific ideas about how the uniforms should look like. "I decided that this was going to be 'Hornblower' in outer space, so I said, 'OK, if this is going to be the Navy, let's have them look like the Navy; they shouldn't be walking around in pajamas,' which seemed to me to be what the uniforms in the first movie and the TV show looked like." Additionally, Meyer had one other, significant instruction for costume designer Robert Fletcher: he wanted the costumes to be reminiscent of the clothes worn in the film 'The Prisoner of Zenda'. Fletcher was careful not to reproduce any specific naval uniforms and used the dark red that had been discovered during the dye tests. Meyer was keen on this approach, since it maded the costumes dramatic and created a strong contrast with the background. The first versions of the uniform had a stiff black collar like the costumes in 'The Prisoner of Zenda.' Producer Robert Sallin suggested changing this into a turtleneck, and when he made the alterations Fletcher decided to use trapunto, which is a form of vertical quilting. Meyer had always wanted the uniforms to feel as real as possible, and thus asked for rank insignia. Fletcher explained: "There was kind of a complicated arrangement of divisions and ranks expressed by the braid on the sleeves. I made that up. I organized it and produced a little instruction booklet about it for the wardrobe department ...." On the early version of the uniform, the insignia were on a band around the upper arm, which was later moved to the cuff. The last major change was to redesign the flap of the double-breasted jacket so that it would actually open. This was something Meyer wanted, because he felt the lighter colour on the inside of the flap would frame the actors' faces better. The flaps, however, did present Fletcher with a problem: when they were open, one could clearly see the snaps that held it in place, and, as he says, these looked distinctly unfuturistic. "In order to make these look less like plain old snaps, I found this sterling silver chain that looked strange. I ordered a reel of it and sewed it in with the snaps to give it a feeling that it was perhaps a magnetic closing." For Khan and his followers, Fletcher wanted to create a definite contrast with the highly organized Starfleet uniforms. As he explained, his idea was that their costumes were made out of whatever they could find. "My intention with Khan was to express the fact that they had been marooned on that planet with no technical infrastructure, so they had to cannibalize from the spaceship whatever they used or wore. Therefore I tried to make it look as if they had dressed themselves out of pieces of upholstery and electrical equipment that composed the ship." He added that when it came to Khan's costume there was another major consideration. "We wanted to show Ricardo Mantalban's physique. He was rather proud of it, as he should have been. That was a theatrical gesture." Of course, when Khan first appears he is dressed from head to foot in rags. Again, Fletcher said, the design of this costume was dictated by Khan's situation. "They had to protect themselves from the planet, which was very inhospitable. That was the origin for the kind of Bedouin look. If you have nothing else, and you have access to some fabric you may have ripped out of a bedroom or whatever, then you wrap yourself up to protect yourself from the sandstorm." For the remaining costumes, Fletcher's biggest concern was to create a sense of contrast with the major outfits. Carol Marcus and her team were given white smocks that suggested futuristic lab coats, and in the scene where Kirk and McCoy were dressed in civilian clothes Fletcher tried his best to make sure the outfits looked practical and comfortable. Amusingly, Fletcher said the one costume that he got asked about most made only a fleeting appearance in the film. When Kirk visits Spock in his quarters, the Vulcan is wearing the same robes he wore in the previous movie. "People always ask me what the writing on front of Spock's black velvet, at-home costume symbolize. I have to explain the language that I invented to decorate those things, and I can't! All I can say is that it's very akin to Chinese; it's non-syllabic, and the various shapes contain an entire thought and you don't use them to make words." He added that most of the costumes feature what he described as "corrupt" colours. "Technically, they are colours that are a little bit tinged with their complements. Probably the closest thing in art history is art deco colours. I once did a production of Offenbach's Voyage to the Moon, and I based that on the fact that the moon probably looked like an art deco world. Maybe that struck in my mind, because I used those colours here." He added that because these colours are not quite true, there is something slightly odd about them, which gives the audience the feeling they are from a different world. Shooting At the opening of the film, Robert Sallin wanted to make the entry of Kirk as dramatic as possible. He explained: "... we're introducing Captain Kirk. I think we need a little drama here. So here's what I want to do. When those doors open, the room is filled with smoke, and I want him to emerge in silhouette. I want the strongest backlight you can give him, directly behind him, so that when he walks through there are fingers of light that sorround him in the smoke. I want it to look like the Second Coming." The original version shot was not powerful enough for Sallin, so he made sure that it was reshot. During Spock's funeral scene, director Nicholas Meyer wanted the camera to be directly in front of the torpedo that acted as a coffin and to move with it as it slid into the launcher. "I Sallin got a call from the head of production at Paramount: 'Nick Meyer wants this, and we're going to have to rip out the floor, and we're going to have to rebuild the set so it's high enough off the ground to get the camera in. We've got to talk to Nick.' We all went down there, and everyone was gathered around looking at this through. I just turned to the key grip and said, 'Do you have a Western dolly?' That's basically a trolley that you use to pull the camera. He said, 'Yes,' and I said, 'Have you that tubular track for it? And can you put on the little wheels?' He nodded, and I said, 'Can't we mount the camera on the dolly, put the track down inside the trough, then move the camera with an offset arm allows one to control it from above and do the shot that way?' He said, 'Yeah we can do that,' and I said, 'What's that going to cost?' and he said, 'About $30,' and I said, 'Well, I think that's what we're doing, then!'" Visual Effects The visual effects for The Wrath of Khan were filmed quickly and efficiently-–and, most importantly, they came in on budget. Unlike the first Star Trek feature, the effects were produced by Industrial Light and Magic, a company which would come to dominate the industry in the coming decades. Producer Robert Sallin recalled ILM's approach to the project: "They were incredible. The most professional, the most delightful, the most responsive; I couldn't say enough good things about the whole crew. It was an amazing experience." space station.]] As a sequel, Star Trek II was able to reuse most of the models that had already been built for The Motion Picture. Besides the Enterprise model, Sallin wanted to make use of the orbital office complex that Kirk beamed up to in the first film; it became the Regula I spacestation. Steve Gawley, head of the model shop at the time, recalled: "We took it orbital office model apart and put it upside down and then reattached some of the outer pods in a different way." The remaining model shots required entirely new models. The ILM team built the Regula planetoid and several other simple pieces, but the main task was the construction of the Reliant, which was the first Starfleet vessel other than the Constitution-class ever seen. Paramount's art department provided the model builders with detailed drawings to work from, and, as modelmaker Bill George remembered, a general instruction that the Enterprise and Reliant should look as different from one another as possible. "The one thing that was a little big different on the drawings was that they had come up with a totally new colour scheme for the graphics, thinking that would make it look different. ... When I got them in I said, 'This can't happen.' So I showed them to Kenneth Ralston supervisor to the film. His take on it was, 'Let's put on the Federation graphics we've seen before, and see what they say.' Thankfully, the producers were happy with it." The biggest challenge the ILM team faced was that the script called for the Enterprise and Reliant to inflict heavy damage on one another. The model shop used several different approaches to make sure that they did not actually have to damage the models. On the Enterprise, the damage was essentially cosmetic; pieces of aluminum were added on which were tainted so that, where need be, the damage could literally be peeled off. The damage to the Reliant was much more serious, so larger versions of different parts of the ship were built that could be destroyed. The initial confrontation ended with the destruction of a dome toward the rear of Reliant's saucer. After that came the biggest single effects sequence of the film-–the Battle of the Mutara Nebula. To create the nebula, the team used a cloud tank, which is basically a large container with coloured liquid in it. The team spent weeks shooting the tank, searching for shots that could be used as background for the epic battle. When everything was finished, the team sat down to look through all their footage for shots they could use with the models. Once the nebula had been filmed, the team focussed on the starships that would be moving around inside it. Because the ships were often in the distance, they were able to use small versions of the models which were much easier to handle than the full-size models, and could perform bigger maneuvers. In one of the most impressive scenes of the battle, the Reliant fires its phasers at the Enterprise "neck" section, cutting an enormous gash in the process. This shot was created using traditional stop animation techniques. Kenneth Ralston explained: "I had that section done as a wax piece and then painted it to look like the ship. Obviously, we worked out exactly how the camera was going to move. Then I just went into the wax version, and I would take little sculpting tools and rip stuff up and bend it around. We'd film that, then the camera would move whatever distance it would cover in one frame, and I'd sculpt some more damage. Then, on top of that, we did some animation of a laser hit sort of cutting into it, but if left a real cut-–a big scar ...." The damage brought onto the Reliant was even more severe, and involved making several separate sections. "One of the engine pods blows up," remembered Ralston. 'We couldn't blow up the whole pod for some reason, so I built a shape similar to it and it was more like glass blowing out of the warp nacelle. We shot that as a separate element and then printed that on top of the actual model fo the Reliant, with other pieces blowing off of it. Then, when the whole nacelle blows off, that was just a bunch of explosions and a separate arm that we shot using motion control." Notes * Many of the outer space scenes in the first half of the movie are reused from Star Trek: The Motion Picture. These include the Klingon battlecruisers in the Kobayashi Maru sequence, the Enterprise's departure from drydock and footage of her going to warp. * Khan's remark to Chekov, "I never forget a face," is somewhat ironic, since Khan's appearance in TOS: "Space Seed" was in the first season and Chekov did not make his first appearance until Star Trek's second season. It is possible, however, that Chekov was on the Enterprise at the time and Khan had seen him offscreen. In fact, as noted on the Special Edition DVD's text commentary, Walter Koenig often joked (at conventions and in interviews) that his character had made Khan wait overly long to use a bathroom on Khan's visit to the Enterprise and that was why Khan remembered his face so well. * The events of the film were novelized by Vonda N. McIntyre; see ''Star Trek II: The Wrath of Khan'' (novel). * At a high level the characters of Khan and Kirk can be seen, respectively, as Captain Ahab and the great white whale from the novel Moby Dick (which was found among Khan's possessions). Khan quoted several lines from the novel almost exactly (even down to his dying curse). The ambiguous allegorical nature of the novel was not reproduced in the film, however. * The film earned $14,347,221 at the US box office in its opening weekend, a record at the time. * As with Star Trek: The Motion Picture, Paramount filed for and obtained Design Patents on some of the costumes, props (including the Ceti eel), and ships from this film. Appendices Cast * William Shatner as James T. Kirk * Leonard Nimoy as Spock * DeForest Kelley as Leonard McCoy * James Doohan as Scotty * Walter Koenig as Pavel Chekov * George Takei as Hikaru Sulu * Nichelle Nichols as Uhura * Bibi Besch as Carol Marcus * Merritt Butrick as David Marcus * Paul Winfield as Captain Terrell * Kirstie Alley as Saavik * Ricardo Montalban as Khan Noonien Singh * Judson Scott as Joachim * Ike Eisenmann as Peter Preston * John Vargas as Jedda * John Winston as Kyle * Paul Kent as Beach * Nicholas Guest as Cadet * Russell Takaki as Madison * Kevin Sullivan as March * Joel Marstan as Crew Chief * Teresa E. Victor as Bridge Voice * Dianne Harper as Radio Voice * David Ruprecht as Radio Voice * Marcy Vosburgh as Computer Voice * Steve Bond as Khan's henchman #1 * Brett Baxter Clark as Khan's henchman #2 * Tim Culbertson as Khan's henchman Sources *''Star Trek: The Magazine, September 2002, volume 3, issue 05. *The Art of Star Trek, Judith, Garfield Reeves-Stevens, Pocket Books, 1995. References allergy; Altair VI (Altair system); Armageddon; "Amazing Grace"; Antares maelstrom (Antares system); bagpipes; Bible; birthday; Boy Scouts; bridge; bridge (card game); Ceti Alpha; Ceti Alpha system; Ceti Alpha V; Ceti Alpha VI; Ceti eel; Christmas tree; class D; comm-pic; craylon gas; crewman; dynoscanner; Einstein, Albert; [[USS Enterprise (NCC-1701)|''Enterprise, USS]]; ''Enterprise''-class; funeral; Gamma Hydra; Gamma Hydra sector; Genesis Device; Genesis Planet; gravitic mine; James T. Kirk's San Francisco apartment; ''K't'inga''-class, katra; King Lear; Klingons; Klingon Neutral Zone; Kobayashi Maru; ''Kobayashi Maru'' scenario; K'ushui; log buoy; medical tricorder; midshipman; Moby Dick; Mutara Nebula; Mutara Nebula, Battle of the; Paradise Lost; Paradise Regained; phaser emitter; phaser type-2; photon torpedo; prefix code; Project Genesis; radiation poisoning; Regula; Regula I;''Reliant'', USS; Retinax V; Romulans; Romulan ale; Starfleet Corps of Engineers; Starfleet General Orders; Surak; tactical situation monitor; Tale of Two Cities, A; Tau Ceti; Tau Ceti IV; Tiberian bat; tricorder; Vulcan language See also * ''Star Trek II: The Wrath of Khan'' The Director's Edition External Links * * Wrath of Khan, The de:Star Trek II: Der Zorn des Khan es:Star Trek II: The Wrath of Khan fr:Star Trek II: The Wrath of Khan nl:Star Trek II: The Wrath of Khan sv:Star Trek II: The Wrath of Khan